 The Clarinet BBoard
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Author: Russ
Date: 2002-03-12 03:46
Ok... I have to chose a solo. Which one should I choose? The canidates are: Poulenc Sonata Mvt.1, Arnold Sonatina Mvt.1, Rozsa Sonatina Mvt.2, or the Rabaud Solo de Concours. Tell me which two are your favorite. You help is much appreciated. Thanks!!
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Author: rmk
Date: 2002-03-12 13:56
If this is for an audition, the Poulenc is a poor choice. It doesn't make a lot of sense without the piano accompaniment, and it has many awkward intervals that hit every bad note on the horn.
The Rosza and Rabaud would be better choices IMO.
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Author: William
Date: 2002-03-12 14:57
The Poulenc is my favorite, but I agree, it would be a weak choice without the piano acc. I would go with the Rabaud, as it starts with a cadenza--which gives you the opt. to show off a bit--and then proceeds with a marvelous slow movt--which gives you the chance to show off your real musical abilities and sound. It is not that difficult, sounds "ok" without the piano acc., and is fun to play. I like the ending. BTW, ever consider the Bozza, Fantasy Italiane"??????? Just a thought, Good Clarineting!!!!!!!!!!
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Author: Mark Charette
Date: 2002-03-12 15:21
Having heard the Poulenc without piano a zillion times (listening to the "kid" practice it years back) I agree - it's not good at all without the piano.
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Author: Jack Kissinger
Date: 2002-03-12 16:07
Russ,
Do you need the solo for an audition, competition, recital or some other use? Also, how familiar are you with these pieces, how much time do you have to prepare, and how much access will you have to an accompanist. I have some opinions but my ranking would depend on your answers to these questions.
Best regards,
jnk
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Author: Russ
Date: 2002-03-13 03:49
I have several months to prepare.. it's for a competition
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Author: Leah
Date: 2002-03-13 21:58
I love the Rabaud, that would be my choice
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Author: Jack Kissinger
Date: 2002-03-14 15:41
Russ,
Since this is for a competition, I will assume that your primary objective is to win. If that's the case, and it's a serious competition involving advanced clarinetists and knowledgable judges (not trivial assumptions), the first piece I would eliminate is the Rabaud. It is much easier technically than the others. IMHO, trying to win with it will be like trying to win the men's figure skating competition at the olympics without any quadruple (or maybe even triple) jumps. You will have to be perfect. Everyone else will have to screw up. And even then you may not win.
In terms of technical difficulty, from most to least difficult, I would rank the four pieces as follows (others may disagree):
Rosza
Poulenc
Arnold
________
Rabaud
IMO, the three above the line have a sufficiently high level of technical difficulty to win. Also IMO, the Poulenc and Arnold are close with the Poulenc being slightly more difficult.
Of these works, I think the Poulenc is generally regarded as the most important in clarinet literature. (It is certainly the most often recorded by a wide margin.) In this regard, the Arnold probably ranks second. It is fairly well-known in professional classical clarinet circles. I think that the Rosza is not well known but should be respected as a challenging piece. (I am surprised, however, that the competition stipulates the second movement rather than the first, which is sometimes performed alone as a Theme and Variations.) The Rabaud, more than once a test piece at the Paris Conservatory during the early part of the 20th century, is now often performed as a recital piece for advanced high school students. (It was used in the ICA High School Competition within the last few years.) Such is the advance in development of young clarinetists since the early part of the 20th century. The Rabaud is pleasant to listen to and fun to play and may have been my first choice if this were for a joint student (high school or college) recital, but not for a serious competition.
If, as I assume the Rosza, Poulenc and Arnold all have enough technical difficulty to win, the question would be which one can you perform most flawlessly. That should be your criterion. If an accompanist will be provided for the competition, the Rosza has the advantage of being unaccompanied. You don't have to worry that an unfamiliar accompanist will do something unexpected and throw you off.
If I could pull it off, I would probably go with the Rosza. My guess is that many of the competitors will have studied and will be comfortable with the Poulenc and it will be the one most often chosen. If that's the case, you could get lost in the crowd. That potential problem notwithstanding, my second choice would probably be the Poulenc because of its importance in the literature. After that, I would choose the Arnold and only perform the Rabaud as a last resort if I couldn't pull off one of the more difficult ones.
My $.02.
Best regards,
jnk
(Who has never actually performed in a competition and who, deep in his heart, thinks music should be a collaborative, not competitive enterprise but who, in his head, knows that, in the real world, it must often be otherwise.)
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